Filmmaking / Directing : Pitch session question! by Steve Gibson

Pitching to someone who represents a production company in which your work would best "fit" or match their style, or brand, or focus, or body of produced work would be best. For example, why pitch your slash-horror script to a company that primarily produces rom-coms? Sure, they may like your writing, but may pass on the script because... "It's just not for us." ;)

Typically, you want to team up with a producer who will find your project "on brand" for them. They have credibility in that space and relationships in that space, all of which help advance their projects. Ultimately, if the project is made, you want the distributor to be able to create a marketing message that is clear. For example, ads could say "from the producers of The Walking Dead comes another horror drama." Fans who like The Walking Dead will tune in for this new horror show by the same filmmakers. Sure, there's a chance that the producers will say, "We're producing Jason Bourne, and your spy thriller just didn't move us the way that the Bourne books moved us." But typically, having a producer who is on brand will help get the movie/show made and marketed.

Thanks, all! Valid points each one. Jeff, not to worry - the script has been registered. This has to do with the Stage 32 Pitch Sessions they offer where you pick someone who happens to be looking for material (or so they say) in a particular genre. The main question was if two companies are looking for horror, and one of the companies just put out a zombie movie, would you pitch a "new" zombie movie to the same group or avoid that group and go to another (still in horror, obviously). Sorry if I wasn't too clear earlier.

Jeff, how do you expect to get an agent without pitching to them?

Jeff, that's a nice blog article - articulate, detailed. Nice. Yet, it's based on "pitching" an agent (which I totally agree with; it's really the only way - an informed, professional pitch), and that contradicts what you say above about "speak to no one until these three are in place". So again, my question: how can one acquire representation if one shouldn't pitch?

Jeff, an ISBN? We're talking about scripts, not books. You don't need an ISBN for a screenplay.

First of all, don't register with the WGA, it's a waste of money. For people who want to register their scripts, use the U.S. Copyright Office registration.

An ISBN is for published books or book-like products. Screenplays are not "published" as such and if I saw an ISBN on a PDF of a script then I would assume the screenwriter was a little paranoid and a novice. You don't need it for a script, it's not going to appear on a shelf for sale.

The fact that you've written the script means it's yours and you control the rights. Registration with the Copyright Office is for if and when you want to take a matter to court regarding copyright infringement.

All helpful advice. I also want to mention that when a producer says she is looking for, say, a comedy about step-siblings, what she means is that she is looking for a STAND-OUT comedy about step-siblings. She's probably asked every major agency in LA and many managers, "hey I'm looking for a comedy about step-siblings because Actor A wants to work with Actor B in this type of movie, do you have anything on your shelf?" Consequently, she's probably read 10 scripts utilizing this concept already. None were quite good enough or quite right for what she's looking for. She's looking for The One. So do whatever you can to be sure you're putting your best foot forward. Happy pitching!!

I agree with Dan .. don't ever waste an opportunity to speak to a development exec. Thievery is over -exaggerated. To get on base, you got to step up to the plate. Seek out managers to pitch to who have a record of representing writers, directors, producers in the genre.